CHAPTER IX

COLOUR DECORATION IN ENGLAND

The polychromatic decoration of buildings in England, like the architecture, was in a great measure a development of, or at least was strongly influenced in its inception by, Italian and French art; we might add, also by German and Flemish decorative art of the fourteenth and fifteenth centuries.

It may be said that English decorative art and colouring has, and always had, a certain style and character of its own which has distinguished it from that of other countries, but we must admit that the seeds from whence it sprang were not all of native origin. The English tree of art was not indigenous to the country, but rather an exotic that grew extremely well after it became deeply rooted in the receptive and fertile soil of England. If this be true of the historical beginnings of British art, it must also be said, on the other hand, that the original features and complexion of the adopted art have been completely changed to an aspect of British nativeness.

The brief outlines, given in the previous chapters, of the practice of coloured decoration in Italy, France, and Germany may throw some light on the styles and methods of ornamental design and colouring as practised in our own countries, especially in medieval times.

In the pre-Norman days English churches were decorated in colour, though in a rude manner. The Venerable Bede relates that in the year 678 the Monastery of Weremouth was decorated with paintings done by French artists. Paintings and tapestry hangings were the usual adornment of the pre-Norman churches. As early as 674 Wilfrid, Bishop of York, had the walls, the sacrium arch, and capitals of the columns of his church decorated with sacred subjects, and otherwise richly coloured.

Nothing, however, except a few traces of colour on some very old edifices now exists that dates from the period anterior to Norman times, and even only a little of the colouring on mouldings, carvings, and other portions of the Norman architecture of our great cathedrals and smaller churches, but such portions of colouring as still remain are sufficient to prove that the buildings of the Norman period, in common with all pre-Reformation churches, must have been decorated and coloured from floor to ceiling.

The colours used were very few and simple, such as red, black, and yellow only in some schemes, but in others, blues and greens were introduced.

Mural paintings and sacred subjects, together with the subordinate ornamental decoration, once covered the interiors of Norman churches, but little traces are now left of such. Decorative patterns in simulation of Norman mouldings and diapers were still used in the decoration of later churches up to the end of the first quarter of the thirteenth century.

Frequent mention of colour decoration in England is made in the records, or Close Rolls, of Henry III, dating from the first decade of the thirteenth century. In these documents we find references to the painting of the king’s chambers in his palaces at Westminster, Guilford, Windsor, Winchester, and Clarendon, and mention is made of certain colours and gold, as well as of oil and varnish. References are also made to the making of stained-glass windows; and we know that miniature painting was practised in England at that period. The subject-pictures and ornamentation of the illuminated manuscripts were often copied on the walls of churches and palaces, and also in stained-glass windows of this time.

This English king had a great passion for adorning his numerous palaces and chapels with painted decoration and stained-glass. He also encouraged the art of miniature painting, and, to mention one instance of this, he ordered a large book of miniatures, which contained the illustrations and record of the exploits of his heroic uncle, King Richard I, at the siege of Antioch during the Crusade. It is also mentioned that he “ordered that the exploits should be the subjects of paintings on the wainscot of a room in the royal palace at Clarendon.” These “exploits” also formed the subjects of other paintings that were executed fourteen years later in the Tower of London, and also in the Antioch (Jews’) Chamber at Westminster. One curious and intimate connection with the painting of miniatures, as book-illustrations and mural painting, is shown by the circumstance of the king’s librarian being also the custodian of the colours, which he supplied to the decorators by order of the king. It is evident from this that colours used for the illumination of books and for wall-paintings were possibly of the same kind, and perhaps of the same value.

In some old illuminated manuscripts there are frequently representations of interiors of rooms having various decorative patterns on the painted walls and ceilings, and in some cases they are painted as “Stellari Aureo,” set with stars of gold, on a blue or green ground. In connection with this it is interesting to find that the first mention of a Star Chamber occurs in the Roll of Liveries of Henry III, in these words: “Precept to the Sheriff of Southampton that he cause the Chamber at Winchester to be painted of a green colour, and with stars of gold (_and compartments or panels_) in which may be painted histories from the Old and New Testaments.”

That the colour decoration of interiors was common, even before the time of Henry III, appears so from another precept issued by the king to the effect that the wainscot in the king’s chamber in the castle at Winchester is “to be painted with the same pictures as formerly.”

Some native painters were employed by Henry III, as the names of at least two are mentioned--Edward of Westminster and Master Walter--but the Italian, “William of Florence,” the monk of Westminster, seems to have been the principal painter and decorator-in-chief to the king, for, as a rule, the native artists and decorators carried out the work under his direction and supervision.

At this time, and even later, up to the end of the seventeenth century, many Italian, French, and Flemish artists were invited to this country by the English king, and many others were attracted to England owing to the demand for decorated work. Although there were a good number of native artists and decorators working throughout the country, there were also a considerable number of foreign artists who, generally speaking, belonged to some of the religious orders, and who travelled about and decorated many churches and secular edifices in England. It may be mentioned that much of the artistic decoration, painted by the foreign artist-monks, consisted of copies of miniature paintings from illuminated manuscripts.

The great immigration of these foreign painters, decorators, and stained-glass craftsmen, in the fourteenth and fifteenth centuries, served to arouse a healthy competition between themselves and the native English decorators and craftsmen, and a great improvement took place in the work of the native artists, although the best work has generally been ascribed to the foreign painters.

It is difficult to realise to what extent the churches and secular buildings were coloured and decorated in the centuries named in England; but we have sufficient proofs from the remains of the colouring that still exists, as well as from documentary evidence, that the walls, ceilings, piers, arches, capitals and mouldings of church interiors, whether the materials were of stone, wood, or plaster, were all richly coloured and gilt, so that from floor to roof the churches of medieval England glowed in schemes of solemn splendour of colour and gold, the whole effect being assisted by the additional colour harmony of the stained glass windows.

At the present time the interiors of most of these old churches are bereft of their former glory of colour, this being due to centuries of neglect, and perhaps vandalism. Some of them have, certainly, a spotty bit of colour and decoration at the east end, and occasionally a few coloured glass windows. It is only in a rare instance that one of these old churches is treated anew in a full and finished scheme of decorated colouring; the majority still keep to their fashionable whitewash, with a few spots of colour dotted about; their former beauty has ceased to remain to them, and nobody at present seems interested enough to make a serious attempt to bring it back.

Some critics strongly assert and argue that these old churches and other ancient edifices should not be restored, either to the former glory of coloured decoration or in their structural features. One critic follows another by repeating the arguments of his predecessor in art criticism, namely, that old buildings should be permitted to crumble slowly into decay, ruin, and nothingness, and also, that you cannot restore anything that does not exist. These arguments would appear logical enough when applied to the case of structures that are already so far ruined that they cannot be used for the purposes for which they were built, but if an edifice, though hoary with age and weather-worn by stress and storm, is yet sufficiently solid and sound to be used, as in the early days of its prime and beauty, there is absolutely no reason why it should not be carefully and lovingly restored, or repaired where necessary, both in its structural parts and in its colour decoration, so long as it can still be used for the performance of the duties or the fulfilment of such functions as those to which it was originally dedicated.

The best examples of coloured decoration in England, of the fourteenth and fifteenth centuries, is found in the East Anglian churches, chiefly in the counties of Norfolk and Suffolk, though in the west and southern midland counties the decoration of churches received great attention at this time, but it was inferior to the work done in East Anglia. Several reasons to account for this superiority of the East Anglian art have been given, the principal one being that at the time of the greatest activity in church decoration in the eastern counties, these parts of the country were in a very prosperous condition, owing to the flourishing state of their cloth and wool trade, and the close connection of East Anglia in intercourse and trade with Flanders. In the fourteenth century Edward III, in 1328, brought over many Flemish weavers to Norfolk, and during the following century and afterwards many Flemish and German painters and decorators doubtless came across to this part of England, and obtained employment in the decoration of churches.

It has also been suggested that the superior quality and quantity of decorative painting in East Anglia was due to the greater use of wood for church fittings, especially oak, in this part of the country, and the scarcity of stone. There was a cheap and plentiful supply of wood in Norfolk and Suffolk, but the only kind of stone was flint, of which the churches were mostly built. Wood, therefore, and the plastered walls, suggested painting, more so than stone, which was more used in the building of churches in other parts of England. Accordingly we find that the rood-screens, and other

timber fittings of the East Anglian churches, were all elaborately coloured, and painted with figures and decorative patterns. (Plates 4, 25, 27, 28.)

Flemish painting at that time had attained to great excellence, and there is no doubt that it strongly influenced the English art of the fifteenth century, and especially the decorative school of art which about that time rose to great eminence in East Anglia. Flemish methods and styles of church colouring and painting, and especially that of the rood-screens, roofs and reredoses, were freely adopted by the English decorative artists, and the types of the painted figures of saints, prophets and apostles, as well as the style and character of the floral and geometric ornamentation, which has been found in the existing decoration of the old English churches, had all their counterparts in Flemish church decoration (Plate 24). The best examples of the English work of this period that are still in existence are the rood-screens of Norfolk, particularly those of Ranworth (Plates 4 and 28), Barton Turf, Aylsham, and Cawston, and the screens of Southwold church in Suffolk. The painting on these screens is decidedly English in character and technique, however much the designs of the single figures may be Flemish or German in style.

The interior wall surfaces of the smaller English churches were usually coated with plaster, while the walls of the large ones and those of the cathedrals were of smooth-faced stone. The plaster surface was prepared for painting by simply coating it with a light, cream coloured, or pale grey wash of distemper. The decorative patterns and emblematic devices were painted on these grounds, or on similarly prepared grounds of soft-coloured tints of red, blue, or green. The patterns were sometimes painted in one colour only, but often in two or three, one of which being gold, or yellow, to imitate the colour of gold. On white, grey, or cream-coloured grounds the tints were usually dark grey, red, black, or green, and on the brighter colored grounds the pattern colours were generally in grey or black, or in a darker tint of the colour of the ground.

Although the early English decorators were good colorists, the range of the colour was limited, but they made good use of the small number of the colours they employed by often cleverly transposing and alternating the grouping or arrangements, so that although the same colour on the same pattern might be used, the transposition by alternation of the pattern gave great interest and variety to the general scheme of colour. Reds, yellows, black and white were the principal colours used in the early Gothic decoration; blues, greens and gold were added to these in the later periods, especially in the decoration and figure paintings on the rood-screens and ceilings, and on the woodwork generally.

Mouldings, whether of wood or stone were always coloured, as well as the piers, capitals and

columns; the oak woodwork was invariably painted, as oak was cheap and common in those days, and the natural grain of the wood was evidently not much prized.

Mistakes were, of course, sometimes made by the early English decorators in their over-zealous application of colour, when, for example, they painted over some of the finest workmanship in carved stone as well as some of the costly materials. As instances of such mistakes, it may be mentioned that the black marble shafts in the choir of Rochester Cathedral showed traces of their having been at one time painted red; the beautiful white marble monument of Archbishop Walter Gray in York Minster was at one time painted in various colours, and the shrine of St. Alban, in St. Alban’s Cathedral, though of Purbeck marble, is painted blue and green, the traceries and mullions being gilded.

The character and motives of the decorative patterns were interesting and diversified. A common treatment of the wall spaces between bands, and panels which contained pictorial decoration, consisted in the painting of a simple masonry pattern where double lines of red or yellow were drawn horizontally and vertically, so as to form rectangular spaces which corresponded to the joints of the wall, and in the centre of each oblong there was usually placed a circular flower form. Diapers and checkered patterns were used very much to fill wall spaces and panelling. The diapers were sometimes sparsely arranged, when they would then appear as sprig-like forms, “powdered,” or “sprinkled” at regulated intervals: these were known as “open” diapers; but when the diaper forms were more elaborate and important, and fitted closer together, they were called “close” diapers. The latter variety of diaper pattern was generally copied from the elaborate designs which decorated the rich Florentine and Sicilian silks of woven damask. These damask silks were used as hangings and for sumptuous dress materials, and may be seen represented as such in many of the Italian and Flemish paintings of the fourteenth and fifteenth and sixteenth centuries. Examples of the open diapers or powderings may be seen on the backgrounds of the panel paintings on the East Anglian screens, and the more elaborate, close diapers appear on the richly decorated dresses of the figures (Plates 4, 25-27, 28).

In the latter important class of diaper the pattern is often made up of such details as conventional animals, birds, flowers, foliage, ornament and fruit, such as the pomegranate and pine-apple, all cleverly arranged to make repeating patterns, these patterns being later developments of those found in the older Siculo-Arabian silks and Byzantine silk tapestries (Plates 25-27), hence the oriental character of this class of ornament.

Various devices, heraldic and otherwise, and emblems, were sometimes superimposed over the central parts of diapered walls and ceilings, and

painted in different colours or in gold. Mottoes, texts in ornamental lettering on scrolls, and monograms, very much repeated, were all used as decorative motives, and also flat representations of architectural forms, especially of Gothic tracery. Lead stars, wavy-rayed, and gilded, were fastened to ceilings that were painted blue, thus giving a conventional representation of the firmament.

Projecting mouldings of windows and doorways, and arches, and the ribs of groined ceilings of the old churches, were all painted in parti-colours, and the fillets were usually gilded. It was a common practice to colour the groined and flat ceiling ribs and mouldings only a short distance from the bosses which decorated their intersections, and also a similar portion of the web, or ceiling portion around the bosses, but often the whole of the ribs and ceiling panels were richly decorated in colours, and with elaborate patterns of diapered work or arabesques. Stone and carved wood bosses were usually gilded, and the interstices behind the carved foliage, masks, or figures on them, were painted in some very strong colour, usually red, in order to relieve the carving. As a rule carved enrichments were either gilded or painted yellow to represent gold.

In this period of great activity in church decoration in England special attention was given to the painting of roofs with their rafters and beams. St. Alban’s Abbey (Plate 31), Blythburgh in Suffolk, Sall Church in Norfolk, Plymouth Cathedral, Ufford Church, near Ipswich, and numerous others had all richly-painted roofs, although the generality of roofs were simple in colouring, most of them having red, black and grey decorations painted on a white or a blue ground. Sometimes, however, the ceiling decoration was more elaborate, as we have already seen, when it consisted of rich scroll-work, interspersed with emblems, monograms and various devices. Tracery patterns, flower and leaf designs decorated the rafters, and the round bead mouldings were often treated in spiral twistings of lines or patterns, like strips of ribbon round a rod, this kind of treatment being known as “barber-poling.”

Much of the pattern decoration of the old churches had somewhat the appearance of stencilling, which might be accounted for by the flat character of the designs. The painted decoration was, however, not stencilled, but was first applied to the surfaces by the method known as “pouncing,” by means of the pricked holes made in the original tracing or drawing, and the pattern work afterwards executed with the brush. That this method was adopted is proved by the slight variation in the drawing of the painted patterns, and by the characteristic freedom in the execution which brushwork can only give, and further by the absence of the effect which is due to “ties” of the stencil-plate. In some instances the oft-recurring rosettes and diaper powderings may have been stencilled as an easy and preliminary method of placing them in

their regular positions, but if so, they were afterwards finished with the brush, by hand, as they have nothing of the appearance of patterns produced by stencil printing.

The materials and mediums used in the painting of walls, ceilings, or woodwork, were the dry colours ground in water, and mixed with parchment or egg size. The latter size, with or without the addition of fig-tree juice, was chiefly used in the painting of the figure subjects and pictorial work, while size made from cuttings of parchment, by boiling them, or from ordinary glue, was used for the larger surface colouring. The general medium of the work was therefore tempera, or distemper, though sometimes, but rarely, oil was mixed with the colours. Pictorial and ornamental paintings on the screens were varnished with an oil varnish over the tempera painting, but in many instances such paintings were left unvarnished. Most, if not all, of the decoration on the screens, pulpits, and the woodwork generally, in the English medieval churches, was certainly executed in tempera, with the egg-size medium, which was the common method of picture or panel painting on the Continent at that time, and most of the pictorial decorations were varnished afterwards, so that those which remain to this day have the appearance of oil paintings, and this has led many to class them wrongly as such.

The subjects on the screens, pulpits and reredoses were generally representations of saints, apostles, prophets, kings, queens, knights and angels, etc. The figures were usually placed on alternate red and green grounds, the latter being diapered over in small patterns in white, purple, or gold. In some cases a raised gesso diapered ground of gold has been prepared, as in the Southwold screens. The robes of the figures were also richly decorated with elaborate patterns, in colours heightened with gold.

There are still some remains of decorative painting on the screens of many medieval churches in Devon and Cornwall, but as a rule the work on these screens does not possess so high an artistic value as that of the East Anglian painting. In Devon most of the screens are found in churches between Totnes and Exeter. The best examples are those at Ashton, Plymtree, Buckland-in-the-Moor, Wellcombe, and the miniature-like paintings at Hennock on the hill above the Teign valley. Some painted screens in Devon of a later date, at Southpool, Blackawton, and Chivelston, are the only ones, according to Father Camm, out of forty in Devonshire that contain fillings of arabesque ornament, all the rest having painted figures. The ornament on these is in the Italian Renaissance style, with the Elizabethan English influence. The colouring of these arabesques is white, on grounds of red and green.

We have treated the subject of medieval colour decoration in England at some length, but our excuse for this must be that the period it embraces was one of the greatest activity in the history of decorative art in this country. Further, it may be said, it was in this time that churches and other buildings were coloured completely throughout, and not as in the more modern custom, where, with a few exceptions, churches and secular buildings are treated with a few isolated bits of colour, which being also done at different times, and by different hands, cannot possibly have any sort of homogeneity or unity as a suitable colour finish for the building. When any of us are fortunate enough to be trusted, or favoured with an opportunity to decorate the interior of a building completely throughout, we might do worse--we cannot do better--than take some lessons from the practice and methods adopted and followed out so successfully by the early English decorators.

Though little now remains of this old coloured decoration, that little enables us to construct from the fragments the scheme and colour of the entire work, as the anatomist is able to construct a prehistoric creation from the skeleton, or even from a portion of it.

During the seventeenth and eighteenth centuries colour decoration of buildings was almost non-existent in England, for interiors that showed any pretension to decoration were finished, or unfinished, in schemes of white and gold. Sometimes, however, the decorator was permitted to revel in pale shades of pea-green, “French grey,” very pale blues and still paler pinks, so that many interiors of the Adam and Georgian styles, though famous for their delicate ornamentation in stucco plaster work, were either left white, like brides’ cake decoration, or in the pale tints of other kinds of sugar confectionery, a dainty, but timid type of colour decoration which we borrowed from France (Plate 33).

About the latter half of the eighteenth century, after the discovery of Pompeii, in 1753, with its richly-coloured wall decoration, colour began to show itself on the interior walls and ceilings of some English buildings, both of a public and private nature, but not in churches, for it was not until about the middle of the nineteenth century that there was a partial revival of church decoration, a sort of renaissance of the fourteenth and fifteenth century work, that was brought about chiefly by Pugin, Sir Gilbert Scott, and other neo-Gothic architects. Many churches were decorated in England about this time in schemes of rich and strong colouring, and with similar types of ornament to those used by the early English decorators. Two very elaborately-coloured and decorated examples may be mentioned, namely, the chapel or crypt at Westminster Houses of Parliament, and that of the Catholic Church at Cheadle, in Staffordshire, after Pugin’s designs. The colour decorations of these two churches are among the rare examples of Gothic colour revival, where the interiors have been finished in complete schemes of strong colouring.

During the last fifty years there have been many

PLATE 33.--PORTION OF ROOM DECORATION, SHEEN HOUSE, SURREY: EIGHTEENTH CENTURY.]

PLATE 34.--PORTION OF A STAIRCASE DECORATION IN THE VICTORIA AND ALBERT MUSEUM. By F. W. Moody.]

fine examples of hall decoration painted in fresco in England, as well as important pictorial and ornamental schemes of decoration in coloured plaster, mosaic, and in oil painting. We might mention the Houses of Parliament frescoes, those at South Kensington, the Royal Exchange wall pictures, the mosaics in St. Paul’s Cathedral, and in the new Cathedral at Westminster, as well as a good deal of coloured decoration in private houses and civic buildings throughout the country, but in the British Isles the advancement of this interesting and fascinating art is severely handicapped by the indifference, prejudice and obstinacy, even of many people who profess to have a love for art.

As a nation, we are a long way behind the French, Germans and Americans in the encouragement of decorative art. The Governments and municipalities of Germany and France decorate their civic and public buildings thoroughly, and with no niggard hand, but in our own countries such work, however good it may be, is commissioned for in a partial and piecemeal way, when it is decided to be done at all.

INDEX

Ægina, Temple of, 78

Aix-la-Chapelle, tomb of Charlemagne, 91, 92

----, town-hall, 107

Amiens, museum, 89

----, cathedral, 100

Arabesques, 67, 68, 71

Arabian decoration, 72

Ashton Church, screen of, 128

Assisi, upper church of San Francesco, 60, 61

----, frescoes of Giotto, 62

Augsburg, Fuggerhaus, 104

Aylsham Church, screen of, 121

Backgrounds for pictures, 23

----, treatment of coloured, 51-53

Baltard, Victor, 80

Bartolomeo, 39

Barton Turf Church, screen of, 121

Baudry, Paul, 81

Belgium, fifteenth and sixteenth century buildings, 38

Bellini, 69

Berlin, Alt Museum, 110

----, Kunstgewerbe Museum, 109

----, New Museum, 107

Blackawton Church, screen of, 128

Blake, 89

Blythburgh Church, screen of, 125

Boni, G., 40

Borgia Apartments, 25

Boston Library, 89

Botticelli, 63, 89

Brauweiler Abbey Church, 95

Brunswick Cathedral, 97

Buckland-in-the-Moor Church, screen of, 128

Buon, Giovanni, 39

Burne-Jones, 10

Byzantine decoration, 72

---- marblework, 36

---- mosaicists, 46

Ca d’Oro, Venice, 39-41

Cairo, decoration of mosques, 80

Camerini, Ducal Palace, Mantua, 69

Canterbury Cathedral, 100

Cassoni, 64

Cawston Church, screen of, 121

Ceilings of halls, churches, etc., 25

----, flat, 27

----, Italian painted, 26, 27

----, of ordinary rooms, 47

----, wooden, Romanesque and Gothic, 32

Charlemagne, 91, 92

Chartres Cathedral, 100, 101

Château de Blois, 79

Château de Boulogne, 75

Chavannes, Puvis de, 84-87, 89

Cheadle Church, Staffordshire, 130

Chivelston Church, screen of, 128

Cimabue, 60

Close Rolls of Henry III, 115

Cluny Museum, Paris, 75

Coliseum, 66

Cologne Cathedral, 100

----, church of St. Gereon, 95-97

----, church of Santa Maria im Capitol, 95, 96

----, museum, 102, 105

Contours, 53

Cornelius, 108

Cornices, 29

Costa, 69

Cottages, colour decoration of, 3

Cour-du-Murier, 79

Cristoforo Romano, 70

Cromwell, 5

Dado, 18, 30, 31, 33

Deck, 82

Decorators, foreign, in England, 117, 118

Delia Robbia ware, 37, 82

Denuelle, 80

Detaille, 86

Didron, 77

Diocletian, Baths of, 66

Doge’s Palace, 38

Dresden, Albertinum Sculpture Gallery, 109

----, Royal Historical Museum, 109

Duban, 79

École des Beaux-Arts, Paris, 79

Edward of Westminster, 117

Egyptian decoration, 72

---- polychromy, 78

Empedocles, Temple of, 77

Empire style, 76

Ewald, Professor, 109

Exchange, the Royal, 131

Exhibitions, international, 82

Flandrin, Hippolyte, 80

Flemish influence in East Anglia, 120, 121

Florence, exteriors of buildings at, 37

----, Monastery of San Marco, 63

----, Palazzo Vecchio, 26, 62, 68

Fontainebleau, 70, 76

France, revival of colour decoration in nineteenth century, 39, 77-79

François I, 70, 75

Frankfort, the Römer, 105

Frederico II, 71

Fresco paintings, 38, 58, 77, 107-110

Frieze decoration, 30

Frodoard, 74

Fuggerhaus, Augsburg, 104

Galerie-du-Louvre, restoration of, 79

Galland, 83

Gallo-Roman era in France, 74

Garnier, Charles, 81

Genoa, painted ceilings at, 26

Germany, exterior colouring of fifteenth and sixteenth century buildings, 38

----, Gothic period (twelfth to fourteenth century), 99

----, Romanesque period, 91

Gerspach, 81

Geselchap, 109

Ghirlandaio, 26

Giotto, 60-62, 65

Giovanni Buon, 39

Giovanni da Udine, 26, 65-68

Girolamo delta Robbia, 75

Giulio Romano, 26, 65-68, 70, 71

Glass, stained, 8, 9

---- ----, English, 14

---- ----, Gothic, 45, 55, 99-101

---- ----, Romanesque, 55

---- ----, Venetian, 65

Gold, use of, in decoration, 48-50

Gonzaga, Marquis Giovanni Francesco, 69

----, Prince Vincenzo, 69

Gothic or medieval decoration, 72, 99

Greece, decorators of primitive, 41, 72

Greek temples, 15, 77

---- polychromy, 77, 78

Gregory of Tours, 74

Grottesche, 66, 108

Hampton Court, 5

Half-tones in painting, 15

Hébert, E., 83

Hennock Church, 128

Henri II, 75

Henry III of England, 115-117

Hildesheim, St. Michael’s Church, 98

----, the Rathaus, 107

Hittorf, 77, 78

Holland, fifteenth and sixteenth century buildings, 38

Hospital of the Innocents, Florence, 37

Hôtel de Ville, Paris, 88

Interiors, colour treatment of structural and non-structural parts, 19

Interval, the small, 50, 51

Isabella d’Este, 69

Italian architecture in fourteenth century, 62, 63

---- decorative art, 58

---- Primitive School, 85, 87

Jupiter, Temple of, 78

Kaulbach, 107

Kehren, 107

Kleinkünste, 91

Labrouste, 79

Lateran, church of St. John, 61

Leo, Pope, 67

Lessing, 106

Light, artificial, effect on colours, 56

Lincoln Cathedral, 100

Lindenschmit, 109

Loggie of Vatican, 65-67, 79

Lorenzo, 69

Louis XIII, 74

---- XIV, 74, 75

---- XV period, 76

---- XVI period, 76

Louvre, 69

Lübeck, decorated houses, 104

Lyons Cathedral, 84

---- Museum, 89

Majolica dishes, 64

Magazin du Printemps, Paris, 82

Mantegna, 69

Mantua, palaces at, 26, 65, 68-71

Marbles, coloured, 35

Marie-Antoinette, 76

Marino Contarini, 39

Marseilles Cathedral, 84

---- Museum, 89

Materials, and mediums (medieval English), 127

----, coloured, in buildings, 34-38

Meissen Royal Porcelain manufactory, 110

Mercato Vecchio, Florence, old house in, 63

Mesopotamian friezes, 30

Michel Angelo, 25-31

Middle Ages, decoration in England during, 14, 15

---- ---- in France, 74, 77

Milan, exteriors of buildings, 37

Mohammedan palaces, decoration of, 80

Monochrome decoration, 47, 48

Monte Carlo Casino, 81

Moorish colour schemes, 55

---- coloured tiles, 80

Mosaics, 38, 58, 81, 84, 93

Mosaic workers in Paris, 81

Mosaïque, École de, 81

Mouldings, 28, 31

Munich, museum and town-hall, 102, 108

Museums, decoration of, 6

Mycenian polychromy, 78

Naples marblework, 35

Napoleon, 76

Nature, colouring and forms of, 2, 46, 50

Niccolo dell’ Abbate, 70, 71

Norfolk churches, 119-121

Norman, Alfred, 80

Norman period in England, 114, 115

Notre Dame, Paris, 74, 75

Nuremberg--Schöne Brunnen, 110

----, Church of St. Lawrence, 111

----, Church of St. Sebaldus, 111

“Opus Alexandrinum,” 35

“Opus Sectile,” 35

Palace of Titus, 66

Palazza del Tè, 65, 71

---- Publico, Siena, 62

---- Vecchio, 26, 62, 68

Palermo marblework, 35

Palladio, 7

Paperhangings, 23, 24

Paradiso in Ducal Palace, Mantua, 69

Paris--Notre Dame, 74, 75

----, Hôtel de Ville, 88

----, Magazin du Printemps, 82

----, Opera House, 81

----, Panthéon, 83, 85-87

----, Sainte Chapelle, 79

----, Saint Germain des Près, 80

----, Sorbonne frescoes, 88

Parliament, Houses of, 130, 131

Parthenon, 15, 130

Penni, Francesca, 71

Perino del Vaga, 26, 65, 67

Persian decoration, 72, 80

Perugino, 26, 63

Picture galleries, 23

Piloty, 109

Pinturrichio, 25, 63

Plymouth Cathedral, 125

Plymtree Church, screen of, 128

Poitiers, church of St. Savin, 74

Pompeii, 41, 72, 73

“Pouncing,” 126

Prague Cathedral, 100

Prell, H., 107, 109

Pre-Norman period in England, 114

Primaticcio, 70, 71, 75

Prodigal Son frieze, Cologne Museum, 103

Prosper Merimée, 77

Public buildings, 5

---- ----, planning of, 16

---- ----, interiors of, etc., 30

Pugin, 130

Raffaelle and pupils, 26, 36, 65-67, 72

----, cartoons of, 5

----, Vatican ceiling, 25

Ranworth Church, screen of, 121

Ravenna, San Vitale, 92

Renaissance decoration in England 4, 8

----, applied decoration of, 73

----, Italian, 25, 41, 58

---- marblework, 35

---- period in France, 74, 75, 77

Republic, French, 76

Rethel, Alfred, 107

Richard I, 115

Richelieu, Cardinal, 69

Rinaldo of Mantua, 71

Rochester Cathedral, 121

Roman decoration, 41, 60, 72, 73

---- ----, Eastern influence on, 60

Romanesque epoch in Germany, 93, 94

Romantic School in France, 76

Rome, Baths of Diocletian, 66

----, Castello S. Angelo, 26, 65, 67

----, Loggie of Vatican, 65-68

----, painted ceilings, 26

----, San Clemente mosaics, 59, 60

----, Santa Maria Maggiore, 59

Römer, Frankfort, 106

Rood-screens, 121, 125, 128

Rosselli, C., Sistine frescoes, 63

Rouen Museum, 89

Rubens, 85

Ruskin, 1, 28

Saint Alban’s Abbey, 123, 125

Saint Gereon’s Church, Cologne, 95-97

Saint Germain-des-Près, Paris, 80

Saint Lawrence’s Church, Nuremberg, 111

Saint Michael’s Church, Hildesheim, 98

Saint Paul’s Cathedral, 131

Sainte Chapelle, Paris, 79

Sainte Geneviève, 83, 87

Sala di Cambio, Perugia, 26

---- Piccolomini, Siena, 25

Sall Church, Norfolk, screen of, 125

Salle des Beaux-Arts, Paris Exhibition, 82

Salviati, 92

San Clemente, Rome, 59, 60

San Pietro, excavations at Vincolo, 65

San Vitale, Ravenna, 92

Santa Maria del Popolo, Rome, 25

---- ---- im Capitol, Cologne, 95, 96

---- ---- Maggiore, Spello, 25

---- ---- ----, Rome, 59

Saracenic influence in Florentine decoration, 60, 65

Schwarz-Rheindorf Church, 94, 95

Scott, Sir Gilbert, 130

Sédille, Paul, 82

Segesta, Temples of, 77

Selinus, Temple of, 77

Serlio, 70

Siena, Palazzo Publico, 62

Sistine Chapel, 25, 31, 63

Sorbonne frescoes, 88

Southpool Church, screen of, 128

Southwold Church, 121, 128

Steinle, 105, 106

Stoss, Veit, 111, 112

Suffolk churches, 119-121

Surfaces, treatment of curved, 24

----, treatment of plain, 18

Tempera wall-painting in churches, 92

Theatres, 22

Thorwaldsen’s discoveries at Ægina, 78

Tile decoration, 80-82

Tintoretto, 26, 85

Titian, 85

Torriti, 60, 61, 65

Tower of London frescoes, 116

Udine, Giovanni da, 26, 65-68

Ufford Church, Ipswich, 126

Vasari, 66, 68

Vatican ceilings, 25, 26, 63

Vatican Loggie, 65-68

Veit, 106

Venerable Bede, 114

Venice, Ca d’Oro, 39-41

----, Doge’s Palace, 38, 39

----, exterior colouring, 37, 41

----, painted ceilings, 26

Verona, exterior colouring, 37

---- Cathedral, 38

Veronese, Paul, 26, 85

Victoria and Albert Museum, 70, 76, 131

Villa Madama, 26, 65, 67, 68

Vincolo excavations, 66

Viollet-le-Duc, 74, 77, 80

Wainscoting, 31, 33

Walls, treatment of, 20-23, 47

Walter, Master, 117

Wellcombe, church screen, 128

Weremouth, monastery of, 114

Westminster, Antioch Chamber, 116

----, Edward of, 117

----, New Cathedral, 16, 17, 131

Wilfrid, Bishop of York, 114

William of Florence, 117

Window frames, 31, 33

York Cathedral, 100, 111

---- ----, monument of Archbishop Walter Gray, 123

_Richard Clay & Sons, Ltd., London and Bungay_

End of Project Gutenberg's Colour Decoration of Architecture, by James Ward